713 resultados para FEMALE CHARACTERS


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O principal objetivo desta dissertação é investigar e analisar como os movimentos diaspóricos e as relações familiares exercem influência na construção das identidades das mulheres em Quicksand, de Nella Larsen, e Lucy, de Jamaica Kincaid. As questões a que pretendo responder são: Como as personagens principais, Helga Crane e Lucy, lidam com as diferentes culturas que encontram nas suas trajetórias ? ; Como essas diferentes culturas lidam com essas mesmas personagens?; e Como o encontro entre essas diferentes culturas e as relações familiares são descritos e influenciam na construção da identidade feminina nessas obras?. Minha hipótese é que encontraremos nas obras selecionadas duas jornadas, portadoras tanto de aspectos comuns quanto distintos, que começam com o desejo das personagens principais de escapar da opressão patriarcal. Isto é, Helga Crane e Lucy passam por um período de muitas descobertas sobre elas mesmas e as sociedades com que têm que lidar, o que determina dois produtos diferentes: a construção das identidades híbridas de Lucy, em meio a sua solidão, na obra de Kincaid, e a construção e o sufocamento das identidades de Helga pela religião, o patriarcado e as relações familiares, na obra de Larsen

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In the present study, no visible differences between the sexes of C. chanos with reference to external features such as colouration, shape of head, snout and operculum, presence of tubercles or nasal pores, length, size and shape as well as any roughness in the various fins, could be found. However, the anal region of the mature milkfish (sabalo) exhibits discernible anatomical differences in the male and female. The male has two main openings visible externally: the anterior anus and the posterior urogenital opening at the tip of the urogenital papilla. The female has three main openings instead of two: the anteriormost anus, followed by the genital pore and the urinary pore located posterior to the genital pore at the tip of the urogenital papilla. Internal examinations were also made on both sexes. In ripe sabalo, it is easier to distinguish the sexes since milk oozes out of the urogenital pore by pressing the abdomen of the ripe male fish. Gravid females are identified by their distended abdomens.

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Please consult the paper edition of this thesis to read. It is available on the 5th Floor of the Library at Call Number: Z 9999 C65 F86 2005

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We revalidate the theraphosid genus Pterinopelma Pocock 1901, describe the female of P. vitiosum for first time and Pterinopelma sazimai sp. nov. from Brazil. These two species were included in a matrix with 35 characters and 32 taxa and were analyzed both with all characters having same weight and with implied weights. Searches considering all characters non-additive or some additive were also carried out. The preferred tree, obtained with implied weights, concavity 6 and all characters non-additive shows that Pterinopelma is a monophyletic genus sister to the clade Lasiodora (Vitalius + Nhandu). The presence of denticles on the prolateral inferior male palpal bulb keel is a synapomorphy of the genus.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

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The allometric growth of secondary sexual characters in Pachygrapsus transversus is investigated from the 2(nd) crab stage onward. Clear sexual dimorphism is restricted to abdominal morphology, but ANCOVA analyses showed that chelae become larger in males and the carapace becomes wider in females. Size at the puberty moult in both sexes was estimated using Somerton's computer techniques. Mature II analyses applied to bi-log gonopod length vs, carapace length relationships indicated a puberty moult at 5.0 mm in males.In females, Mature I analyses detected the overlapping growth phase lines in bi-log carapace length vs. abdomen width scatterplots. Fitting the logistic equation provided an estimate of 50% maturity at 5.5 mm. The regression lines separate young and resting individuals from the potentially reproductive females, but they do not separate young from adult crabs. Year-round monthly samples showed that the proportion of small adult-like females is higher during the breeding season. After breeding, females may moult to a young-like morphotype, as observed in controlled laboratory conditions. Moulting to a resting condition splits smaller mature females into different growth phase lines. Therefore, estimates of female size at sexual maturity by means of abdomen allometric growth analyses are inadequate in this species.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

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Hepatozoon spp. are commonly found infecting snakes. Since the latter are parasitized by diverse forms and data in the literature show divergence, we studied Hepatozoon spp. diversity on Crotalus durissus terrificus snakes using both molecular and morphological approaches. Naturally infected animals were employed. Blood was collected, blood smears were prepared and an aliquot was stored at -20. °C for DNA extraction. Five specimens of C. durissus terrificus were selected, each of them infected with one gamont type. Morphological and morphometric analyses of the found gamonts led to their grouping into three populations. For molecular characterization, seven oligonucleotide pairs that amplify distinct regions of rDNA gene were tested by adopting the PCR technique. Only the oligonucleotide pairs HepF300/Hep900 and HEMO1/HEMO2 were efficient in amplifying and distinguishing different isolates of Hepatozoon spp. from snakes. The better results were obtained when both oligonucleotide pairs were used in association. Based on the molecular and morphologic differences, three new species were proposed: Hepatozoon cuestensis sp. nov.; Hepatozoon cevapii sp. nov. and Hepatozoon massardii sp. nov. This is the first description of new Hepatozoon species from snakes, based on molecular characterization and morphological data, in South America. © 2013 Elsevier Inc.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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We studied the effect of male coloration on interspeciÆc female mate choice in two closely related species of haplochromine cichlids from Lake Victoria. The species differ primarily in male coloration. Males of one species are red, those of the other are blue. We re- corded the behavioral responses of females to males of both species in paired male trials under white light and under monochromatic light, under which the interspecific differences in coloration were masked. Females of both species exhibited species-assortative mate choice when colour differences were visible, but chose non-assortatively when colour differences were masked by light conditions. Neither male behaviour nor overall female response frequencies differed between light treatments. That female preferences could be altered by manipulating the perceived colour pattern implies that the colour itself is used in interspecific mate choice, rather than other characters. Hence, male coloration in haplochromine cichlids does underlie sexual selection by direct mate choice, involving the capacity for individual assessment of potential mates by the female. Females of both species responded more frequently to blue males under monochromatic light. Blue males were larger and displayed more than red males. This implies a hierarchy of choice criteria. Females may use male display rates, size, or both when colour is unavailable. Where available, colour has gained dominance over other criteria. This may explain rapid speciation by sexual selection on male coloration, as proposed in a recent mathematical model.

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Swordtail fish (Poeciliidae: genus Xiphophorus) are a paradigmatic case of sexual selection by sensory exploitation. Female preference for males with a conspicuous “sword” ornament is ancestral, suggesting that male morphology has evolved in response to a preexisting bias. The perceptual mechanisms underlying female mate choice have not been identified, complicating efforts to understand the selection pressures acting on ornament design. We consider two alternative models of receiver behavior, each consistent with previous results. Females could respond either to specific characteristics of the sword or to more general cues, such as the apparent size of potential mates. We showed female swordtails a series of computer-altered video sequences depicting a courting male. Footage of an intact male was preferred strongly to otherwise identical sequences in which portions of the sword had been deleted selectively, but a disembodied courting sword was less attractive than an intact male. There was no difference between responses to an isolated sword and to a swordless male of comparable length, or between an isolated sword and a homogenous background. Female preference for a sworded male was abolished by enlarging the image of a swordless male to compensate for the reduction in length caused by removing the ornament. This pattern of results is consistent with mate choice being mediated by a general preference for large males rather than by specific characters. Similar processes may account for the evolution of exaggerated traits in other systems.

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There has been little discussion of Julia Margaret Cameron’s Idylls of the King photographs over the past decade. My goal with this paper is to bring her Idylls of the King series back into discussion and address its success and relevance in both art history and literature. Scholars Helmut Gernsheim and Marylu Hill have questioned photography as a means to capture the imaginative content of Tennyson’s Arthurian stories and they declared Cameron’s photographs a failure. I argue that her theatrical style, use of props and costumes, obvious posing of her models, and nod to Victorian tableaux vivants capture the true essence of Tennyson’s epic. Her use of the Pre-Raphaelite female muse to portray the Arthurian characters of Elaine, Guinevere, and Vivien places her photographs in direct correlation with Pre-Raphaelite painting as well as popular literature. Her depictions of Tennyson’s epic poem are highly successful and I believe she achieved her personal goal of ennobling photography to the level of High Art.